Cameras  

Sony F35  Super 35mm

_____________________

Red One

Sony F35  (not pictured above)

 Arriflex Alexa (not pictured above)

Panavision Genesis

Silicon Imaging 2K-SI   

Viper with Venom FlashPak

Clairmont F900  

         Some of this information is out of date

Codex Portable  HD, 2K, 4K  4:4:4  JPEG 2000    up to 3 hours  with Transfer Station convert to: DPX. BMP, BWAV, QuickTime, AVI. MXF

S.Two   DFR 2,  D.MAG4 - 438 GB,   D.MAG 8 - 876 GB  DPX Files

Keisohu Giken DDRs for 4:4:4 UDR-5S field recorder

Megazine   1 Terabyte  Digital Field Recorder - 1 hr. Dual Link 4:4:4  

Venom FlashPak 10 min. at 4:4:4,  18 min. at 4:2:2 

Doremi V1-Ux2 DDR recorders

CineRam  2.7 min. dual link, 10 min. single link, converts Varicam to 4:2:2

RaveHD  DDR recorders  

Iomega  Rev Pro removable disk storage 

Firestore 1.5 hours - interfaces with Panasonic's HVX-200  

P2 Memory Card

Digital Intermediate Creation & Finishing

Scratch  a new way to do DIs

Discreet Smoke  Editing Conforming Color Correction  I/O

Quantel iQ     Editing   Deliverables Effects  I/O

Conversion  +

BlackMagic  Bi-Directional Converter  10GBps transfer rate  4:4:4

Using Black Magic Desklink 

Evertz  Afterburner

Miranda  Downconverter

Sound Issues

Double system 

16 sound recording techniques.

Jamming time code

Staying in syn

Sync tips for 24P 

HD audio 

Sound Rentals  

Coffey 

Sound Devices 

Location Sound 

Denecke   Time Code Generators (23.976)

Editing 

DVCPro HD Post Workflow 

Low-budget Options

Post Production Audio

Editing software review 

Indie Digital Dailies

Editing Rentals

In-House Editing Suites

Audio Mixing 

Westwind Media   ADR, Foley, Sweetening              

           

 

• Cinematography - Shooting with 1080P, 2K and 4K resolution, compressed vs. uncompressed, tape vs. digital capture (now just focusing digital, no more tape), DPX files, single CMOS sensors, direct to files, tech info, data rates, rental houses, underwater gear, lenses, dockable recorders (the storage system have greatly improved - SDHC SDHX, ect.)
• 
  
• Editing & Post - Editing systems, editing in compressed HD, codecs, audio mixing, conversion products, DI workflows, DI creation and finishing tools, post houses
• 
  
• Camera Gallery    (DSLRs)
  
• 
  
• Production Links - SAG Indie Contracts, financing
• 
  
• Sound - DAT or Disk Files, Double system sync setups, jamming  (page lost in the change to sites)

Cameras

• A new line of Super 35mm sensor cameras are here

• Arriflex Alexa, Panavision Genesis, Silicon Imaging SI-2K, Phantom HD , Dalsa Origin , Viper , Sony's F35 and Red One are used for higher-end recording of 10-bit (linear or log) 4:4:4 RGB and 4:2:2 data flows with true 1920x1080 and 2K resolutions used to create DPX file

• 
  
• Sensors: The Alexa, Genesis, Phantom HD, Dalsa, F35 and Red use single Super 35mm sized CMOS sensors. This allows the systems to use 35mm film lenses. The SI-2K uses a single 2/3" CMOS censor which allows for using 16mm film lenses.
  
• 
  
• Dalsa Origin is a 4K system: 16 bit, 12 stops latitude, 12 Megapixels, DPX files.
• 
  
• Uncompressed 10-bit log 4:4:4 RGB data flows should be captured onto disk drives:  S.Two , RaveHD , Megazine , Keisohu Giken 
  
• 2011 - There is a slew of new drives / devices to record to.
  

• 
  
• 1 hour of 2K DPX 10-bit log files = 1TB (terabyte) of data. Each frame is a 12 MB file. (Each 4K frame is 48 MB)

Editing

Edius HD

• Avid and Final Cut Pro and Abobe's Premiere are the three major non-linear editing (NLE) systems used.
  
• Canopus's Edius HD and Matrox (a turnkey system using Abode) are alternatives.
  
• What file format to use? With 4:4:4 you record to DPX files and then downconvert. To a certain degree it all depends on the budget and scope of the film. DPX, QT, MXF, AFF, BMP and AVI are the most utilized file formats.
• NLEs utilize their own encoding compression codecs: Avid uses the DNxHD codec (AFF), Final Cut uses a QT codec.
  
• Choose a system that fits the specific needs of the project. You can assemble workstations or rent turnkey systems
  
• If you are shooting in HD it is best, if possible budget wise, to cut in compressed HD. And if you are shooting 24P (23.976), it is best to edit in 24P (23.976) - the frame rate it was shot in. Try to maintain the same shooting/editing workflow format.

Data Rates 

Looking at the MBps - MegaBytes Per Second - will offer a clue about what data storage capacity is needed (and image quality). This in turn will determine what equipment and budget is required.

• HDV - 25 MBps (average)
• DVCPRO HD - 100 MBps
• HDCAM - 140 MBps
• D-5 - 235 MBps
• HDCAM SR - 440 MBps & 880 MBps
• Single Link HD-SDI - 1.4 GBps - 4:2:2 (SMPTE 292)
  
• Dual Link HD-SDI - 2.9 GBps - (SMPTE 372)
  
• New Single Link SMPTE 424 - 2.9 GBps

4:4:4  Plus and Minuses

4:4:4 RGB and direct to disk recording are definitely the wave of the future. At the moment however there are both pluses and drawbacks.

• when shooting with single 35mm-sized sensors all the great film lenses are available
  
• an uncompressed 4:4:4 data flow alllows you to capture the richest unaltered images for DI masters but uses a vast amount of disk storage space - 60 min. of 2K 10-bit DPX files (at 12 MB per file frame) equals 1 Terabyte  (about what many productions shoot daily - time wise - using film stock)
  
• dockable mag-like recorders attached to the camera are available but they can be heavy (Genesis) and they need to be downloaded frequently
• using HD-SDI or optical viber connections you will often be cabled to a recorder which reduces camera mobility - especially for Steadicam and car shots
• uncompressed HD looks green, most productions use an on-set color correction to get an idea of the "real" look
  
• 10-bit log 4:4:4 RGB direct to disk systems are a lot more expensive and tech intensive than camcorders
  
• it takes time to set-up a smooth working system for each project
  
• 
  

HD Basic Overviews

HD 24P - myths and facts Reviews most issues of HD 24P production

HD Production Review Clear explanations of the tech & processes

HD Pre and Post Production Explains basic formats and technology. Covers downconverting, offline and online HD, deliverables and digital standards.